So,
having chatted with Bob and Reeder while they were recording and mixing this
album I had a good feeling about what was to come blasting out of the speakers.

This
album really has a lot of different formulas going on, but, the one thing that
really dictates the album is the almighty power of the riff. I am not just
talking about the guitar riffs; however, they are so fucking good it makes you
want to invest your 401 K into a stock called Riffola, courtesy of Mr Hill and
my favorite guitar player Mr Bob Balch.

The
drums of Scott Reeder and bass of Brad Davis are so tightly interwoven, but
also give the album that much room to breathe that everything has a space to
shine, and shine this album does.

From
‘Dimension Shifter’s full out tilt to the clean guitar ending that brings into
G pen territory which this piece of music should have been sold with the album.

‘Invaders
on My Back’ has that classic FU swagger and Hill’s doubling of vocals not just
on this track is done, but it is done such reverence. He might be the king of
doubling as they are so crisp and concise. It definitely brings me vocally back
to older Fu albums which for me was a great audible surprise.

‘Anxiety
reducer’, if you are into a great back beat and lush guitar tones, with a touch
of sci-fi, then this is the track you want to take to Vegas and get hitched
too. A great boogie, head bopping tune that is so right on with the drum and
riff. Following that it takes you on a
grooving trip, and then tones of the guitar come on in to take over with a
great solo that has wah, creepy fingers and a specific touch that makes me
scratch my head as to why this cat is not a household name.

Next
up ‘Radio Source Sagittarius’, comes at you with a blistering open and great
fill that modern drum festival would tweak over. Great vocal and instrument
interplay, then straight into what has made Fu so goddam good, grooving and
with such ease and vocals that layer on top like a wonderful sauce on a great
sundae. Also, when drums, guitars and Captain of the undertow, Brad Davis roll
in, it is straight into everything music.
Solos, drum fills, classic vocals and a great outro of the Ludwig
getting a bit roughed up and the Reverend guitar sounding like it just got its
airplane license.

Now
‘Mutant’, Davis
coming at you, into a switch of pace that frightens you, as it comes out like
your weren’t not expecting it. Then back into chill ville, with some ambience,
but the riff holds the underneath together until Hill comes in with great
vocals which for me throughout this entire work, are my favorite things he has
done in a while. That is not too say I am not into the other stuff, this just
harkens back for me why I got into the band.

‘No
Warning’, classic FU, has everything you could need, great strut, drumming
takes the spotlight on this jam. I feel Reeder keeps the groove so loose yet
tight that even being a short tune, it packs a Floyd Mayweather jab.

‘Evolution
Machine’ has a heavy intro, not in the doom world, but heavy enough guys for
dig High on Fire. The dissonant guitars on this, makes the tune and are
strictly humming. Classic riff and roll on this beeyatch. Then back into such a
solid groove, again encapsulated by the dissonant guitars. Here lies why this
band will always be relevant. On this
tune they touch on many influences, which for a music lover is what your
acoustical devices are constantly hunting for. This track is a treasure and it
can be heard on this fucking CD. I love the solo, but what lies underneath the
solo is so thick that it lets it ride into a ferocious state.

‘Triplanetary’
is my second favorite jam on the album. I love Hills vocals on this as the
interplay between him and the instruments are super charged. A head bopper with
a little sting. It is not a stoner induced bop, but one that will make your
drive your rig faster than you probably should.

‘The
Last Question’ is my favorite piece on the album. Has such a swagger that your
head automatically gets a slight nod in it. The vocals and the riff make this
tune. So tight and yet so loose that it brings you into a sort of groove
related trance as we kick into the solo and bam, back into such tight and
precise vocal. Best guitar tones on the album for me, and that lies not only in
amps and pedals, but into the hands of Hill and Balch. Leading into Davis showing why he is so good. It is almost jazzy when
he lets it roll on top of a wonderful groove by Reeder. Yet off in a not so far
distance is why this album should be accompanied with a G pen as it takes on an
outer space vibe, then clean riffing that Wes Montgomery would dig.

Therein
lies the substance, so many tones, grooves, low ends, doubling of great vocals,
it makes you listen attentively. This is an album that if you are not paying
attention, you will listen again and most likely have a new favorite tune as it
has similar ‘Fu-ness’ shall we say, but it is really through their own
doing. They have gone out on more of a
ledge and they are not worried if they jump as the groove, which would be the
net, would gently cradle them.

If
you are a fan of Fu Manchu, then this album will make you more of a fan, put simply
‘Gigantoid’ has what the listener wants and needs and that is why we still go
to see them and why they are such a big part of what makes rock still a thing.
There is nothing processed, no auto fucking tune, just 4 bad motherfuckers
laying it down with such firmness and strength that it should be a lesson to
the “music world.”

Music
when played so genuinely and with such gravitas can make you remember days gone
past and why you got into it in the first place. It makes you feel. Whether it
is sad, melancholy, tough, spectacular, it is still a feeling. Ask yourself,
when is the last time you really listened to an album that hit you in your
whole body? Guess what fuckers? This one does and for that, I salute you
gentleman for a job really well fucking done.

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